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Journal articles on the topic 'Art occidental'
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1
Midal, Fabrice. "La méditation, un art... très occidental !" Les Grands Dossiers des Sciences Humaines N° 55, no. 6 (June 1, 2019): 19. http://dx.doi.org/10.3917/gdsh.055.0019.
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Harty, Kevin J. "L'imaginaire médiéval dans le cinéma occidental by François Amy de la Bretèque." Arthuriana 15, no. 2 (2005): 83. http://dx.doi.org/10.1353/art.2005.0024.
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Fitzi, Gregor. "The Heuristic Significance of Art Sociology." Simmel Studies 26, no. 1 (August 15, 2022): 107–32. http://dx.doi.org/10.7202/1091334ar.
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Art sociology may be simply seen as a specialised domain of sociological research. Yet the article suggests that it has also an overarching diagnostic significance to gain a better understanding of ongoing societal transformation trends. It analyses the classical contribution of Weber, Simmel and Bourdieu to the topic. Weber develops a causal-historical explanation for the development of occidental music. It becomes a key to the interpretation of the specific occidental form of rationalism beyond religion and economy. Simmel has a different approach. Art is for him one of the expressions of the modern times that he wants to describe to understand the transformation of the society in which he lives. The diagnostic function of art is at the centre of interest. Bourdieu, on his side, proposes a historical reconstruction for the development of the intellectual field in France during the 19th century. In this frame, art contributes to a symbolic revolution that establishes autonomous societal fields and promotes a qualitative differentiation of complex societies. Yet, Bourdieu’s researches on art have also a diagnostic potential. Building on the analytical heritage of the classics, the article inquiries into the loss of autonomy of the art field in the contemporary art market and contributes to the debate on the heuristic significance of art sociology.
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Singh, Sohini. "Occidental Encounters and Impressions." Indian Historical Review 45, no. 1 (June 2018): 58–91. http://dx.doi.org/10.1177/0376983617750663.
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The visual and literary chronicles of British Residents and Surveyors comprise a reservoir of information on the historical, social and economic milieus of various territorial regions within the Indian subcontinent. Further, they contain copious documentation on the art and architectural heritage of these regions. Straddling the realms of antiquarianism and archaeology, the concomitant processes of survey and documentation evolved during the seventeenth century and acquired a panoptic character by the nineteenth century. They were essentially products of the interface between the diametrically opposed occidental and oriental cultures and were furthered by the expedients of colonialism. This article is divided into three parts. The first part delves into the relationship between antiquarianism and archaeology. The second part elucidates upon the practices of surveying and documentation in India. The third part elaborates upon the career of Lt. Frederick Charles Maisey and his explorations in central India with special reference to his mid-nineteenth century illustrations of Chanderi’s architectural edifices and structural members. Chanderi, a town of historical importance in Madhya Pradesh, is interspersed with tombs, step-wells, mosques and free-standing gateways of Indo-Islamic affiliation, ascribable largely to the fifteenth century. Some of these edifices are in a bad state of preservation and Maisey’s illustrations have been instrumental in reconstructing their effaced architectonic and decorative details. The illustrations under purview have also contributed towards a holistic understanding of the architectural style at Chanderi, an area which is fairly uncharted.
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Mankovskaya, Nadezhda Borisovna. "Postmodernism as Myths Generating Practice." Journal of Flm Arts and Film Studies 1, no. 1 (November 15, 2009): 26–45. http://dx.doi.org/10.17816/vgik1126-45.
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The article deals with an aspect of postmodernism in art connected with the creation of new type of myths also on the base of newest technology. Speciicity of postmodern myths generation in cinema, literature, painting, actual art-practices is turned out. Particularities of its occidental and Russian varieties are analyzed on the examples of P. Greenaway, M. Barney, D. Prigov, I. Kabakov creations.
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Akšamija, Mehmed. "An Analysis of the Use of Terminological Determinants “Art of Islam”." Illuminatio 1, no. 2 (March 26, 2021): 16–87. http://dx.doi.org/10.52510/sia.v1i2.11.
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This article follows from the previously published paper and pertains to a distinctive phenomenological analysis of the structure/form and the production of the modality of miniature/illumination/pictorial representation, namely the productive-reflective orientation of homo islamicus with a separate analysis of his profanely-aestheticized discourse of action/arrangement/design.
A particular attention is paid to the paradigm of reduction, i.e. to a possible transformation of the cognitive and productive-reflective orientation by means of denaturalization/ stylization, as well as to the analysis of the status of homo islamicus's paradigmatic and predefined position within both the profane-cognitive and recognitive-sacral production. The characterization of his work and his fulfillment of religious life within the aesteticized discourse of qadar/ṣināʿat was also used to discuss the opposition to the occidental academic approach/understanding, imposed by the inappropriate need to reduce any form of creative action to common Western denominators. Substance of the emergence of creative action is theoretically elaborated by means of the cognitive discourse of qadar/ṣināʿat, together with activating figurality on the idea of the closed concept of the collaborative-cognitive practice. The expansion of theoretical discourse allowed the presence of a new view on the religious-aesthetic philosophy and associated terms, respecting the specifics deriving from the basic traditional interpretations of the Islamic forms of aestheticized orientation. This brief analysis is intended to initiate a discussion on the issues of theoretical and historical other part of the „history of arts“ and „artistic production“ in the critical framework of both occidental and Islamic attitudes/views. This brief analysis is intended to initiate a discussion on the issues of theoretical and historical other part of the „history of arts“ and „artistic production“ in the critical framework of both occidental and Islamic attitudes/views. At the same time, it will contribute to a possible fundamental discourse for defining the expression homo islamicus's Islamic creative action' as an academic field within a broader discipline entitled as the „history of arts“.
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Ying-Ling Huang, Michelle. "Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c.1930–1980." Journal of the History of Collections 31, no. 2 (August 23, 2018): 383–401. http://dx.doi.org/10.1093/jhc/fhy017.
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Abstract By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China’s cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chinese art in the West. It analyses exhibitions of twentieth-century Chinese painting held in museums and galleries in order to map trends and identify the major parties who introduced the British public to a new aspect of Chinese pictorial art. It also discusses prominent Chinese painters’ connections with British curators, scholars and dealers, who helped establish their reputation in Britain.
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Antón Sánchez, John. "BUEN VIVIR, VIVIR BIEN O UBUNTU VS. MAL VIVIR DESDE UNA VISIÓN AFRODESCENDIENTE EN ECUADOR." NULLIUS: Revista de pensamiento crítico en el ámbito del Derecho 2, no. 1 (June 8, 2021): 84. http://dx.doi.org/10.33936/revistaderechos.v2i1.3527.
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La Constitución ecuatoriana del 2008, define que el desarrollo del país deberá ser orientado por el Buen Vivir o del Sumak Kawsay (art. 257). Esta es una idea movilizadora que ofrece alternativas a los problemas del desarrollo tanto del país como de la humanidad. El Buen Vivir es un modelo distinto al desarrollo occidental. Está basado en los planteamientos de los pueblos andinos y amazónicos, y es tomado como objetivo central de la política pública del Estado. Este artículo propone una introducción a la comprensión del concepto de buen vivir desde la visión del pueblo afroecuatoriano, que bien pudiera llamarse Ubuntu.
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Fernandez, James, Jordi Sabater i Pi, and J. Oriol Sabater i Coca. "Els Tatuatges Dels Fang de l'Africa Occidental: Art, Simbolisme i Biologia en una Manifestació Artística Poc Coneguda." African Arts 27, no. 2 (April 1994): 27. http://dx.doi.org/10.2307/3337091.
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Hosne, Ana Carolina. "Matteo Ricci’s Occidental Method of Memory (Xiguo Jifa) (1596): Untranslatable Images of a Classical Art of Memory in Ming China." Journal of Early Modern History 22, no. 3 (June 22, 2018): 137–54. http://dx.doi.org/10.1163/15700658-12342554.
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AbstractOne of the attributes of the Italian Jesuit Matteo Ricci (1552-1610) was his prodigious memory. The humanistic education received at the Roman College enabled him to master the classical art of memory. In China, Ricci discovered that memorization was essential to the learning process required for the civil service examinations to hold posts within the empire, and so he composed the Xiguo Jifa (1596) (Occidental Method of Memory), based on one of the commonest mnemonic systems—the architectural type—to help candidates memorize contents for these examinations. Ricci chose Chinese characters as mnemonic images to be placed in mental structures. This article aims to show how Ricci’s choice of Chinese characters as mnemonic images in China deviated from one of the main functions of an art of memory: to mediate between words and images, creating bridges and modes of translation from one another, thus rendering those images “untranslatable.”
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Alves, Lindomberto Ferreira. "Rumores de críticas de arte menores / Rumors of minor art criticism." arte e ensaios 28, no. 43 (August 31, 2022): 66–87. http://dx.doi.org/10.37235/ae.n43.4.
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O texto expõe os pontos de partida de uma pesquisa que se debruça sobre a dimensão poético-política de perspectivas contra-hegemônicas de escritas em/sobre arte. Trata-se de apontamentos introdutórios, atentos ao território insurgente de escritas críticas da arte, cuja contestação do monologismo crítico ocidental chama atenção para modos minoritários de pensar-escrever as práticas, as teorias, as críticas e as histórias nesse campo. Nossa hipótese é de que as táticas escriturais dissidentes engendradas nesse território tanto seriam urdidas quanto colocam em funcionamento o que propomos chamar de exercícios de críticas de arte menores. Exercícios que requisitam práxis críticas mais complexas e heterogêneas junto ao trabalho de arte na contemporaneidade e suas inextricáveis críticas da condição histórica do presente.Palavras-chave: Crítica de arte. Arte contemporânea. Escritura. Crítica de arte menor.AbstractThis text exposes the starting points of a research that leans over the poetic-political dimension of counter-hegemonic perspectives in writings in/about art. Aiming, with it, to address introductory considerations attentive to the insurgent territory of writing in art criticism, whose contestation of the critical occidental monologism, brings attention to minority ways of thinking-writing the practices, theories, critiques and histories of this field. Our hypothesis is that dissident writing tactics brought about in this territory so much would be weaved as it would work as what we suggest be named exercises of minor art criticism. Exercises that require more complex and heterogeneous critical praxises along with the function of art in contemporaneity and its inextricable commentary on present history condition. Keywords: Art criticism. Contemporary Art. Writing. Minor art criticism
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Vicente de Foronda, Pilar. "La mujer como objeto de representación hasta principios del S.XX." Atlánticas. Revista Internacional de Estudios Feministas 2, no. 1 (January 12, 2018): 271–96. http://dx.doi.org/10.17979/arief.2017.2.1.1977.
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La historia del arte se nos ha vendido como una verdad absoluta e imposible de modificar y cuestionar. En ese artículo se centra en la utilización de la imagen de la mujer que la historia del arte occidental dominante ha llevado a cabo a lo largo de veinte siglos, desde las venus esteatopigias al fetichismo de los prerrafaelitas o las mujeres art decó, hay una utilización de los cuerpos de las mujeres para construir el imaginario colectivo sobre estas imágenes. Este artículo aspira a plantear como esta utilización va moviéndose a lo largo de la historia para favorecer los intereses de la clase dominante y facilitar de esta manera el sometimiento de las mujeres.
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Crișciuc, Viorica. "4. Musical Skills in the Artistic Knowledge Process." Review of Artistic Education 20, no. 1 (April 1, 2020): 280–88. http://dx.doi.org/10.2478/rae-2020-0032.
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AbstractThe article hereby includes conceptual aspects of the musical competences formation. It describes the realization of this process operating with the concepts of well-known occidental, Russian and local researchers. One of the ideas characteristic to the researchers’ pedagogical thinking is that, during the process of musical competence formation through art, the acquisition process mechanism is happening. For integrity in insuring the practical realization at of a musical education, the methodology we propose is based on research, an imposing theoretical network of successful pedagogical practices of remarkable scientists from all over the world. The analyzed theories are a source of inspiration and constitute the theoretical universe which contributes to as truthful as possible musical education.
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Crişciuc, Viorica. "3. The Formation of Musical Competences: Methodological Approachesin the Process of Artistic-Aesthetic Acquisition." Review of Artistic Education 12, no. 2 (March 1, 2016): 221–30. http://dx.doi.org/10.1515/rae-2016-0027.
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Abstract The article hereby includes conceptual aspects of the musical competences formation. It describes the realization of this process operating with the concepts of well-known occidental, Russian and local researchers. One of the ideas characteristic to the researchers’ pedagogical thinking is that, during the process of musical competence formation through art, the acquisition process mechanism is happening. For integrity in insuring the practical realization at of a musical education, the methodology we propose is based on research, an imposing theoretical network of successful pedagogical practices of remarkable scientists from all over the world. The analyzed theories are a source of inspiration and constitute the theoretical universe which contributes to as truthful as possible musical education.
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Rabadán Villalpando, María Eugenia. "El problema de los paisajes desconocidos en la catalogación en línea de los museos nacionales de arte de Norteamérica." Intervención 1, no. 25 (December 28, 2022): 200–240. http://dx.doi.org/10.30763/intervencion.265.v1n25.44.2022.
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Este informe académico es parte de una investigación, desde la perspectiva de los estudios visuales, sobre paisajismo de la modernidad y después de ella en la tradición occidental. Se propone analizar, de acuerdo con el estructuralismo de Thomas Kuhn, el cambio de Gestalt visual de principios del siglo xx relativo a la articulación en el arte de un nuevo paradigma. La visualización atraviesa la curaduría y la catalogación de colecciones en línea de los museos nacionales de arte de Norteamérica, cuestionando el diferencial de percepción de la estructuración de lo abstracto y lo conceptual en el paisaje entre estos acervos. No obstante, este estudio encuentra una solución teórica al fenómeno de invisibilidad de las imágenes en los episodios de carácter no acumulativo, propios, nuevamente según el modelo de Kuhn, de los cambios paradigmáticos. _____ This academic report is a part of a research, from the perspective of visual studies, on landscape art of modernity and after it in the Western tradition. This work proposes to analyze, in accordance with the structuralism of Thomas Kuhn, the change in visual Gestalt of the beginning of the 20th century related to the articulation in art of a new paradigm. The visualization cuts across the curating and the cataloging of online collections of the National Art Museums of North America, questioning the differential perception of structuring the abstract and the conceptual in the landscape between collections. However, this study finds a theoretical solution to the phenomenon of the invisibility of images in episodes of a non-accumulative nature, typical of paradigmatic changes, according to Kuhn’s model.
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Levchenko, Illia. "‘Nothing New‘: once again about the impossibility of a global history of art (comments on Dana Arnold's ‘A Short Book About Art’)." Text and Image: Essential Problems in Art History, no. 1 (2022): 163–72. http://dx.doi.org/10.17721/2519-4801.2022.1.13.
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I started this text as a review of another ‘short history of art’ that I came across. ‘A Short Book About Art’, written by the British art historian Dana Arnold, is a great example of the popularization and practical application of new approaches to art history. Among them are sociology, psychology of art, political iconology, gender art history and more. The researcher set an ambitious goal. The work is dedicated to finding common threads that connect the art of different geographical areas and demonstrate that the art of any period works in a similar way. We are talking, as we see, about the global history of the arts. This story should cover all regions and give a balanced representation of the cultures/arts of the different regions. However, the noble goal, as a careful reading of the work showed, not only did not solve the problem but also exacerbated it. Non-European art is almost ignored. In addition, the researcher builds a typical pro-Western narrative, where, however, the progressive approach is replaced by values. If progressivism was the ‘dark side of modernity’, the ‘value approach’ involves the consideration of non-European art exclusively from the perspective of Occidental values. Non-European art enters the narrative of global art history through hybridization due to glocalization. At the same time, the glocalization of art occurs in two ways. The first of them is passive. The projective vision of the researcher formed by Western values simply does not notice and does not anticipate any difference between the ‘other’. Because of this, neither the ‘other nor its differences fall into the field of study. The second way of glocalization is active. It involves the relocation and recontextualization of culture. It is about moving culture in a familiar, acceptable to the researcher context (most often it is the morphology of art, topic or phenomenology). Both options for glocalization involve the implementation of an exclusion strategy, which makes it impossible to talk about global art history. Global art history is possible only as a result of non-trivial decolonial optics. However, decolonization as a postmodern project contradicts the modern idea of ‘short history’ and centrifugal narrative.
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Lazari, Antonio. "La cuestión de la identidad en el Derecho Internacional, Europeo y Comparado: por una visión relacional del Derecho." Revista Española de Derecho Europeo, no. 81 (June 30, 2022): 99–155. http://dx.doi.org/10.37417/rede/num81_2022_786.
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Ante la continua batalla identitaria que marca el camino del principio del siglo XXI, este trabajo propone una actualización del concepto filosófico, político y jurídico de la identidad nacional, históricamente forjada en la era del Estado nación cerrado. Mediante el prisma del derecho internacional y comparado se propone una teoría de la(s) identidad(es) basada(s) en una revisión de las identidades jurídicas del Derecho del siglo XXI. La renovación cognitiva generará una concepción de identidades jurídicas más complejas y porosas. Frente a la construcción del sujeto jurídico occidental basado en la exclusión e imposición tanto en la esfera del derecho internacional como de la metodología comparada, se asoma en el escenario supranacional una visión de identidad que se plasma no por oposición (Aut/Aut), sino mediante la relación con el Otro: es el paradigma europeo. Mediante el estudio relacional de los valores de la Unión (art. 2 TUE), de las tradiciones constitucionales comunes a los Estados miembros en la Unión Europea (art. 6.2 TUE) y de la propia identidad nacional (art. 4.2 TUE), propondremos una profunda renovación de los instrumentos metodológicos pertenecientes a estas dos disciplinas con el fin de crear un nuevo sujeto jurídico relacional y forjar una relación dialéctica (no ya de yuxtaposición, sino) de convivencia con el Otro
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Johnson, Christopher. "Leroi-Gourhan and the Evolution of Forms." Paragraph 44, no. 3 (November 2021): 296–333. http://dx.doi.org/10.3366/para.2021.0373.
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The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the final phase of his career, builds on parameters set out in the 1950s and 1960s, and indeed early works on figuration ( Bestiaire du bronze chinois (1936) and Documents pour l'art comparé (1943)) already use the methodology which characterizes his Préhistoire de l'art occidental (1965). Nevertheless, there is a qualitative shift in Leroi-Gourhan's post-war work in response to structuralism and in dialogue with his work on human evolution. Le Geste et la Parole (1964–5) represents an important point of mediation, describing the physiological foundations of aesthetic experience and the stages of development which precede figuration. Leroi-Gourhan argues for the normality of Palaeolithic art as an artistic tradition while insisting on its absolute otherness. The mind in the cave is capable of the most abstract and esoteric variations of form and content, but also represents an alternative world to our own.
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Ernst, Stacy A. "Indigenous Sovereignty and Settler Amnesia: Robert Houle’s Premises for Self Rule." RACAR : Revue d'art canadienne 42, no. 2 (January 25, 2018): 108–20. http://dx.doi.org/10.7202/1042950ar.
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Le modernisme en art est souvent considéré comme un développement spécifiquement occidental. Robert Houle, l’artiste, écrivain et commissaire d’exposition d’origine Saulteaux, a cependant toujours soutenu que sa propre pratique est moderniste et qu’elle suit une filiation esthétique autochtone. Cet article s’intéresse particulièrement à une oeuvre produite par Houle en 1994, Premises for Self Rule, dans laquelle l’artiste a juxtaposé des textes de législation coloniale à des panneaux peints en monochrome et des cartes postales trouvées en archives. Il propose qu’à travers cette stratégie de rapprochement, l’artiste fusionne la tradition de la peinture de parflèche à l’esthétique moderniste, remettant ainsi en lumière la négociation interculturelle, l’amnésie coloniale, ainsi que les écarts qui séparent les épistémologies et traditions artistiques des peuples autochtones et allochtones.
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Barriendos, Joaquin. "La bienal de la Habana en el imaginario geopolítico de la revista Third Text." MODOS: Revista de História da Arte 5, no. 2 (May 19, 2021): 178–92. http://dx.doi.org/10.20396/modos.v5i2.8665179.
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Este artículo analiza la presencia de la Bienal de la Habana en el imaginario geopolítico de la revista británica Third Text: Third World Perspectives on Contemporary Art & Culture. El análisis se centra en la manera en la que Third Text desplazó la categoría Tercer Mundo de su imaginario editorial para dar cabida a una mirada geopolítica pensada desde las epistemologías del Sur Global y como, al hacerlo, convirtió a la Bienal de la Habana como la primera exhibición de arte verdaderamente global. Además de rastrear los artículos de la revisa en los que se discute la Bienal de la Habana, el artículo se analiza la manera en la que Third Text criticó el eurocentrismo desde de la condición postcolonial del arte no occidental.
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Beugnet, Martine, and Kriss Ravetto-Biagioli. "The Image Book." Alphaville: Journal of Film and Screen Media, no. 23 (July 15, 2022): 10–31. http://dx.doi.org/10.33178/alpha.23.01.
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Drawing inspiration from Denis de Rougemont’s 1936 text Penser avec les mains, Jean-Luc Godard’s most recent film brings together what the Swiss philosopher calls “penser engagé” with his own unique kind of “cinéma engagé.” The Image Book (Le Livre d’image, 2018) starts with three image-gestures that punctuate the film: the cropped close-up of the right hand of Leonardo da Vinci’s St. John The Baptist, French illustrator Joseph Pinchon’s drawing of Bécassine with her upwards pointing left hand, and the hands of the filmmaker joining together spools of film at a Steenbeck editing table. Like many other “late” Godard films, The Image Book is a multilayered assemblage of quotations, sounds, music, art and cinematic references. Yet, unlike some of its predecessors, this film questions the monolithic (Occidental) way of seeing the world, including Godard’s younger self. Combining citations from films, works of art and philosophical texts from the Maghreb and the Middle East, the film offers itself as an exercise in “thinking with one’s hands” that results in the unflinching critique of Orientalism in the twenty-first century as well as an imaginative attempt to reach out to, if not join alongside with, the other.
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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.
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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Imperial Academy of Arts, St. Petersburg, which instructed them to collect visual evidence about the life, customs and views of the distant eastern country. Upon arrival in China, Russian painters were introduced to a unique artistic scene of the late Qing Dynasty, where Chinese, European and Occidental art interacted. Thanks to that, the work of Russian artists acquired a very distinctive look. However, nowadays the heritage of these painters is practically not studied due to several issues connected with a small number of their surviving works, questionable attribution, unclear provenance, insufficient study of neighboring artistic phenomena, such as Chinese export art or the art of the followers of Giuseppe Castiglione and other Jesuit artists at the Chinese imperial court. The article is thus devoted to the analysis of the difficulties regarding the study of the work of Russian artists at the Russian Orthodox mission in Beijing. The identification and analysis of these research concerns will allow to further develop methodology for studying the work of these painters, whose unique oeuvre remains a noticeable gap in Russian art history, while the history of the Russian Ecclesiastical mission itself or the art of Western missionaries in China have been deeply analyzed by both Russian and foreign scholars.
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Finau, Sitaleki A. "Communicating Health Risks in the Pacific: Scientific Construct and Cultural Reality." Asia Pacific Journal of Public Health 12, no. 2 (July 2000): 90–97. http://dx.doi.org/10.1177/101053950001200207.
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Health workers often communicate to people from a position of power rather than focusing on the needs of the receivers. This is usually clouded with jargon and the so-called principles of scientific accuracy. Often the use of science is to justify the health worker's position rather than to precipitate actions to promote health and achieve people's control over their lives. Communication involves a tripartite reciprocal interaction between the sender, receiver and the medium. This involves both science and art specific to the message, language, values and participants. If the ultimate purpose of communication is healthful action and community control, then scientificness of the explanations must be secondary. Therefore the art of getting the message across must be the priority rather than it being scientifically sound. This conflict is discussed in relation to experiences in the Pacific Islands. The communication of health risks in the Pacific involves the multi-tiered translation of scientific concepts and language into those of the target populations. The scientific concepts are usually occidental and need to be translated into vernacular worldviews and languages. Experiences in and examples from the Pacific have challenged the primacy of scientific explanations over the need to minimise health risks and increase of community control. For health promotion to succeed in multicultural and multilingual Pacific, New Zealand and Australia, the art and science of communicating health risks must be titrated against scientific explanations to appropriately and primarily promote health. Asia Pac J Public Health 2000;12(2): 90-97
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Amezcua Gómez, David. "Cartografía de la ficción." Prometeica - Revista de Filosofía y Ciencias, no. 22 (December 22, 2020): 23–34. http://dx.doi.org/10.34024/prometeica.2021.22.11311.
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En el presente trabajo se abordan, en primer lugar, las líneas maestras que sustentan la concepción de la historia de la literatura occidental que subyacen a la teoría literaria de Northrop Frye. En este sentido, se ha tenido en cuenta la influencia decisiva que la interpretación tipológica de la Biblia tiene en la configuración de esa concepción histórica, lo que ha llevado a Frye a afirmar que las Escrituras constituyen un modelo para la lectura y estudio de la literatura. Por otro lado, proponemos acercarnos a la escritura crítica de Frye desde la perspectiva que nos ofrece la Retórica Cultural propuesta por Tomás Albaladejo. Consideramos que la perspectiva retórico-cultural nos permite llevar a cabo una fructífera relectura de su concepción de la crítica literaria como “a science as well as an art”. Por último, nos hemos ocupado del dispositivo retórico de la metáfora y de su inscripción en la crítica literaria de Northrop Frye, atendiendo a la noción de motor metafórico propuesta, igualmente, por Tomás Albaladejo.
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Abadie, Shahram. "L’exotisme dans les cinémas parisiens entre les deux guerres." Apuntes. Revista de estudios sobre patrimonio cultural 31, no. 1 (June 18, 2018): 102–15. http://dx.doi.org/10.11144/javeriana.apc31-1.edcp.
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Cet article interroge, à travers l’étude du cas parisien, l’idée reçue selon laquelle l’exotisme aurait marqué une phase importante de l’architecture cinématographique pendant l’entre-deux-guerres. Il s’agit de mettre en lumière les raisons d’être et l’ampleur de cette tendance en analysant le parcours des architectes et des commanditaires de cinémas ainsi que leur architecture dans le contexte des échanges internationaux avant de terminer par la réception et le devenir de ces exemples d’exotisme. La méthode consiste à croiser nos recherches doctorales avec des travaux sur l’exotisme et l’orientalisme dans l’art occidental. Cette synthèse a montré que le recours aux motifs exotiques dans les salles parisiennes est relativement précoce, mais ce mode décoratif reste marginal par rapport à la tendance Art déco. Cependant, bien que leurs premiers exploitants aient tous fait faillite, la singularité de ces cinémas a été le principal garant de leur survie et préservation comme patrimoine architectural et cinématographique.
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Kantarbaeva-Bill, Irina. "Vasily V. Vereshchagin (1842–1904): Vae victis in Asia and in Europe." Cultural History 6, no. 1 (April 2017): 21–36. http://dx.doi.org/10.3366/cult.2017.0133.
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Vasily Vereshchagin (1842–1904) was one of the most well-known Russian artists of the second half of the nineteenth-century and the beginning of the twentieth century. Strongly influenced by the popular French Neo-Classicist and Orientalist Jean-Léon Gérome, Vereshchagin's was constantly in pursuit of new subjects for his art. Instead of construing the east as a place of backwardness, lawlessness or barbarism, enlightened and tamed by Occidental rule, Vereshchagin's engagement with progress and humanism evolved in the course of his numerous expeditions and travels, shaping themes and images of human pathos, uncontrollable force and emotional extremes engendered by the war violence unfolding before his eyes. This article will trace Vereshchagin's life and works and their place in the development of the arts in the nineteenth century, when genre painting, the prevalent form of Orientalist art, gradually evolved into battle scenes. Vereshchagin selected the facts of human existence to transfer them to his drafts and studies as if he were attempting to discover the roots of cultural contradictions between the beauty and diversity of human creativity and the poverty, cruelty and barbarity of human life. His method of juxtaposing the traditional form of battle painting and the real tragedy of war whose victims had neither voice nor identity would challenge generals, tsars, governments and the orthodoxies of his time but would also bring him fame and respect.
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Metcalf, Thomas R. "Art and Nationalism in Colonial India 1850–1922: Occidental Orientations. By Partha Mitter. Cambridge: Cambridge University Press, 1994. xxix, 475 pp. $89.95 (cloth)." Journal of Asian Studies 55, no. 3 (August 1996): 756–57. http://dx.doi.org/10.2307/2646491.
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Medeiros, José Afonso. "Arte, criação e criatividade: entre a utilidade e a inutilidade na epistemologia ocidental." Communiars. Revista de Imagen, Artes y Educación Crítica y Social, no. 5 (2021): 27–37. http://dx.doi.org/10.12795/communiars.2021.i05.02.
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Tanto para o senso comum quanto para o senso acadêmico, criação e criatividade são, respectivamente, um princípio privilegiado pelo campo da arte e uma habilidade desenvolvida principalmente por artistas. Desse modo, a arte tem sido considerada a atividade por excelência na qual imaginação e criatividade parecem indissociáveis. Essa concepção foi construída plenamente ao longo do século XIX. Entretanto, considerando-se a própria história da arte, nem sempre os artistas e os teóricos deram como certa essa aliança entre imaginação e criatividade no processo de produção artística, pois houve (e há) pensadores que defendem a ideia de que a criação/recriação artística seria inútil na lida do ser humano com o mundo e com a vida e, sobretudo, na constituição do conhecimento.
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Holden, Philip. "CASTLE, COFFIN, STOMACH: DRACULA AND THE BANALITY OF THE OCCULT." Victorian Literature and Culture 29, no. 2 (September 2001): 469–85. http://dx.doi.org/10.1017/s1060150301002121.
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Fools, Fools! What devil or what witch was ever so great as Attila, whose blood is in these veins?— Bram Stoker, Dracula (1897)Art is completion; not merely a history of endeavour.— Stoker, Personal Reminiscences (1906)“HE CAN, WHEN ONCE HE FIND HIS WAY,” says Van Helsing of Dracula, “come out from anything or into anything, no matter how close it be bound” (211; ch. 18). Recent criticism has claimed similar powers for Stoker’s text, and its relationship to late-Victorian social formations. A wide territory has been staked out. Moving beyond earlier universalizing Freudian readings, Carol Senf sees the anxiety the novel expresses about gender roles as indicative of Stoker’s difficulty in accepting the rise of the New Woman. Talia Schaffer and Christopher Craft read the homosocial relations in the novel in the light of sexological discourses of inversion and the emergence of the homosexual as a “type of life” (Foucault 43); Stephen Arata, noting Stoker’s frequent use of racial metaphors, has seen the text as expressive of a “reverse colonization” in which “the spectacle of the primitive and the atavistic” (“Occidental Tourist” 624) is brought back to a town house near Piccadilly Circus, the hub of the empire.
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Hufty, André. "GRISON, Laurent (2002) Figures fertiles. Essai sur les figures géographiques dans l’art occidental. Nîmes, Éd. Jacqueline Chambon (Coll. « Rayon Art »), 148 p. (ISBN 2-87711-249-7)." Cahiers de géographie du Québec 47, no. 131 (2003): 339. http://dx.doi.org/10.7202/007586ar.
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Rodríguez-García, Gabriel, Juan Pablo Zapata, Ana María Correa-Martínez, Diego Armando Ramírez, and Gloria Obando. "Aportes al conocimiento del plutonismo del Arco Mocoa- Santa Marta durante el Jurásico Temprano-Medio, en la margen noroccidental de los Andes, Colombia." Boletín de Geología 42, no. 3 (September 30, 2020): 15–50. http://dx.doi.org/10.18273/revbol.v42n3-2020001.
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A partir de la integración de información de campo, con datos petrográficos, geoquímicos de roca total, isotópicos y geocronológicos, se realizó la comparación de los diferentes segmentos que conforman el Arco Mocoa-Santa Marta (AMSM). Este arco, que aflora en el Valle Superior del Magdalena, la Serranía de San Lucas, la Sierra Nevada de Santa Marta y la Alta Guajira, se emplazó en un basamento Neo-proterozoico y en granitoides de un arco Pérmico, los cuales fueron posteriormente dispersados a lo largo de la Paleomargen Suramericana. El plutonismo del AMSM se caracteriza por la migración composicional en sentido W-E, con la formación de intrusivos de cuarzomonzonita, monzonita, charnoquita, tonalita y granodiorita hacia el occidente y la formación de plutones de monzogranito y sienogranito hacia el oriente; también existe un enriquecimiento en SiO2 en sentido S-N. Los plutones del AMSM cristalizaron entre el Jurásico Temprano (~193 Ma) y el Jurásico Medio (~164 Ma), y fueron generados por al menos cuatro eventos de cristalización. Los plutones que conforman este arco son de Tipo I, calcoalcalinos con leve variación hacia los granitoides alcalino cálcicos. Los plutones más antiguos y occidentales son mayoritariamente metaluminosos y los más jóvenes y orientales son peraluminosos, todos ellos formados dentro del mismo contexto de evolución magmática de un arco de margen continental erosiva con vulcanismo asociado. La temperatura de cristalización del circón TzircTi para el conjunto de plutones del Cinturón Occidental presenta un pico de cristalización a 860oC, mientras que los plutones del Cinturón Oriental presentan picos de cristalización a 714oC, 807oC y 854oC, con una alta dispersión.
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Gillett, Andrew. "Rome, Ravenna and the last western emperors." Papers of the British School at Rome 69 (November 2001): 131–67. http://dx.doi.org/10.1017/s0068246200001781.
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ROMA, RAVENNA E GLI ULTIMI IMPERATORI D'OCCIDENTENonostante Ravenna sia stata a lungo considerata come la capitale degli imperatori tardo-romani e dei loro successori in Occidente, Odoacre e i sovrani ostrogoti, l'evidenza disponibile indica che la principale residenza imperiale del quinto secolo era invece a Roma. L'adozione di Ravenna come residenza imperiale è stata generalmente attribuita al fatto che la città, grazie alle sue paludi, era facilmente difendibile dagli attacchi, ed e stata anche imputata alia debolezza militare degli ultimi imperatori. In questo articolo viene raccolta l'evidenza relativa alle residenze degli imperatori d'Occidente tra il 401 e il 476; essa dimostra che la corte imperiale occidentale occupò Roma in periodi molto significativi, quali quelli compresi tra il 401 e il 408 e il 440 e il 449, e che Roma fu la residenza principale della corte nell'ultimo periodo di dominazione imperiale dell'Occidente, tra il 450 e il 476. Gli ultimi anni d'impero di Valentiniano III e quello di Antemio in particolare indicano il ruolo di Roma come residenza imperiale. Sia le fonti contemporanee che quelle del sesto secolo confermano l'importanza di Roma, mentre indicano scarsi riferimenti alle presunte qualità difensive di Ravenna. La presenza degli imperatori a Roma mette in evidenza la centralità dell'aristocrazia senatoriale di Roma nelle politiche occidentali del quinto secolo.
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Bate, David. "The Occidental Tourist." Afterimage 20, no. 1 (1992): 11–13. http://dx.doi.org/10.1525/aft.1992.20.1.11.
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Dubois, François. "On macroscopic intricate states." Kybernetes 47, no. 2 (February 5, 2018): 321–32. http://dx.doi.org/10.1108/k-04-2017-0143.
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Purpose The present contribution is in the field of quantum modelling of macroscopic phenomena. The focus is on one enigmatic aspect of quantum physics, namely, the Einstein–Podolsky–Rosen paradox and entanglement. After a review of the state-of-the-art concerning macroscopic quantum effects and quantum interaction, this paper aims to propose a link between embryology and acupuncture in the framework of macroscopic intricate states induced by quantum mechanics. Design/methodology/approach The author uses the fractaquantum hypothesis which supposes that the quantum framework is applicable to all insecable elements in nature, whatever their size. Findings This contribution considers an open question related to a possible link between acupuncture and embryology: can a weak form of intrication be maintained during stem cell division to interpret the acupuncture meridians as an explicit manifestation of a macroscopic intricate system? The macroscopic structure suggested by quantum mechanics could be a beginning of explanation of acupuncture through the embryologic development. Research limitations/implications A fundamental hypothesis is the fact that during cell division, cells keep some weak intrication. Practical implications This contribution suggests a structure of the acupuncture meridians. The links between the acupuncture points have to be searched in the embryologic development of the individual through a weak remaing intrication of some of his cells and not in present explicit relations. Social implications A new link between occidental and oriental cultures is explored. Originality/value This contribution suggests conceptual links between acupuncture, embryology and macroscopic intricate states.
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Robles de la Pava, Juliana. "El entramado visual y una reiteración de la tradición visual occidental en la serie “PICTURE WINDOWS” / The textual framework and the reiteration of the western sight tradition in “PICTURE WINDOWS” series." Revista Internacional de Cultura Visual 3, no. 2 (October 26, 2016): 111–23. http://dx.doi.org/10.37467/gka-revvisual.v3.392.
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ABSTRACTThe relevance of the representative tradition gets highlighted with a number of productions in the world of visual culture, demanding an analysis that question the own statute and condition of possibility of those images. The series of photographs by John Pfahl "PICTURE WINDOWS" proposes, from this analysis, an approach to the so-called scopic regime, referencing its inevitable link with visual memory constituted within the history of Western art. It is a possible way to revisit the narrative of Naturalism that has remained in a diversity of productive ways fell across by new types of images.RESUMENLa relevancia de la tradición representativa sustentada en la construcción perspéctica del espacio se pone de relieve en múltiples producciones del mundo de la cultura visual, demandando un análisis que cuestione el propio estatuto y condición de posibilidad de aquellas imágenes. La serie fotográfica de John Pfahl “PICTURE WINDOWS” propone, desde este análisis, un acercamiento a la denominada episteme escópica referenciando su vínculo ineludible con la memoria visual constituida dentro de la historia del arte de occidente. Es una manera posible de revisitar aquella narrativa del Naturalismo que ha permanecido en diversidad de formas productivas atravesadas a su vez por nuevas modalidades de la imagen.
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Kunikowska, Anita. "Two Orthodox Churches (the Old and the New) of the Holy Apostles Peter and Paul in Kalisz." Ikonotheka 27 (July 10, 2018): 109–31. http://dx.doi.org/10.5604/01.3001.0012.2321.
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The Kalisz Orthodox church from the 1870s (Fig. 1) was demolished in the interwar period and quickly replaced by a “new” Orthodox church by the same name (Fig. 6). The surviving official correspondence reveals a specific set of arguments for the dismantling of the “old” church, e.g. that it was becoming dilapidated, was a threat to public safety and constituted an alien addition to the architectural landscape of the city. The demolition of the Orthodox church was to provide jobs for the unemployed and to open up the possibility of erecting a post office in that spot. The municipal authorities convinced the Ministry of Culture and Art that the local Orthodox parish was not interested in reclaiming the church for their own needs, even though this was not the case. The community ultimately conceded to having the church dismantled but demanded that a new temple be erected as compensation. The example of Kalisz aptly illustrates the attitude the authorities of the Second Republic of Poland had towards Russian Orthodox churches that had been erected in the partition period. The situation mirrored the controversies around the fate of the Orthodox church in Saski Square in Warsaw, if in a more provincial environment. The architectural style of the “new” Orthodox church in Kalisz puzzles many authors – the building, clearly representative of Russian historicism, is associated with Rundbogenstil and Latin- and Occidental-style Orthodox churches, which were spared by the interwar Polish authorities who wished to convert Orthodox citizens to Catholicism within the framework of the so-called neo-Union.
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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.
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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema. Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.
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Matjus, Ülo. "Kunst uusaja täideviimise ajastul." Baltic Journal of Art History 11 (November 30, 2016): 109. http://dx.doi.org/10.12697/bjah.2016.11.06.
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The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness (Besinnung, 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit. The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness (Besinnung, 1938/1939) as well as the Contributions to Philosophy (From Enowning); (Beiträge zur Philosophie (Vom Ereignis), 1936) that preceded it were not intended for immediate publication after they were written in Nazi Germany and remained manuscripts for 50 years, until M. Heidegger’s 100th anniversary in 1989.In the title, all the words, in both English and German, are familiar, but when considered together, questions start to arise. The author explains the meaning of the following German words: die Neuzeit [modernity], das Zeitalter [epoch] and die Vollendung [completion]. The initial sentence of the fragment that provides an introduction as well as summary is: “During this era, art will complete its hitherto metaphysical nature.” If, according to the thinker, metaphysics is all actual Occidental history, then the history of art, as part of this history, is metaphysical, i.e. art has a metaphysical nature, which it will be completed during the completion era of modern times. First off, metaphysics means t h e f o r g o t t e nn e s s o f b e i ng , because instead of being itself, hereinafter inquiry is made of the “logical” existing being as well as being as such; since forgottenness of being is itself forgotten. The forgottenness also fades. This means that philosophy becomes metaphysical and slowly but surely assumes power, so that today metaphysics is considered to be one of the synonyms of philosophy. Secondly, post-Aristotelian metaphysical thinking is characterised by the development of its spirituality, which later labels being-historical thinking as h u m a n i sm, i.e. as humankind assuming the position of subiectum in its relationship with the “world”. Martin Heidegger even considers it possible to speak about the “rule of the modern metaphysics of subjectivity” (die Herrschaft der neuzeitlichen Metaphysik der Subjektivität). However, in this sense metaphysics by nature characterises everything that has been created in Europe, including art.Martin Heidegger says that art will realise its current metaphysical being in this era. Surprisingly this is characterised by three moments: (1) art works disappear, but (2) art does not disappear, and instead (3) becomes something else. In this case, Heidegger is speaking of the German-language Machenschaft, or machination in English. Art becomes one of the ways – along with others – of realising Machenschaft or machination; and upon the reconstruction of what exists, a means of making that which has been established, i.e. achieved, into something that can be unconditionally ruled and commanded.The thinker himself describes this as an example of the “change” in the relationship between mankind as the subiectum and nature. Nature becomes the created (das Geschaffene) and creatable as the “nature” created by the ruling and commanding mankind. This has the character of a structure (die Anlage) as the constitutive form of presenting the machination process and its “result”: motorways, airplane hangars at airports, giant ski jumping hills, electrical power stations and artificial lakes, factory buildings and defensive structures. This character also extends to the “public” world and its spirituality. Nature becomes “beautiful” only through these structures. We are no longer confronted with the nature as it was previously conceived, i.e. as the beautiful nature that provided aesthetic enjoyment, but as the “nature” intermediated by ruling and commanding humankind. The “redesign of nature” is occurring. Nature is visible and is only through those “structures”; nature becomes something that is intermediated, i.e. unapproachable and inaccessible directly. Let’s just think about the “motorways” (die Autobahnen), which were one of the most significant “structures” after the Nazis assumed power in Germany; the closest example of which in Estonia – not ideologically and politically, but formally – is the Eastern Roundabout along with the bridge over the Emajõgi River in present-day Tartu. When stopping on the bridge from the corresponding observation niche one sees nature “in a mediated form” and does not descend from the bridge into nature, because this is “pointless”; nature has been made “approachable” and “accessible” in a better and more effective way.Understandably, that which art highlights is the character of the structure. In this context, it becomes understandable that upon the disappearance of art works, when one can no longer ask what an art work means or what its idea is, art becomes totally “meaningless”. Instead of the “meaning” of art, an experience appears that in turn requires experience training. The types of art resp. genres are also “dissolved”, remaining only in name or as irrelevant, unreal areas of activity that have arrived too late. Kitsch, which can no longer be compared to an art work, is not “bad” art, but a greater skill, and yet an empty and non-constitutive skill. – From the viewpoint of being-historical thinking, the people of the modern technological era, by satisfying the nature of the “structure” are now frames (das Ge-stell), i.e. set and demanded by the nature of modern technology – regardless of whether they know it or not, want it or not. In exactly the same way, people who “deal with the art” participate in this. That does not mean that they are guilty of anything, i.e. they are not criminals. They are not the authors of this “process” or “status”, and they also cannot halt it. The only difference is that some of the actors see what has been created and think about it. And others do not. However not seeing and not thinking is not punishable.
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Topsfield, Andrew. "Art and nationalism in colonial India 1850–1922. Occidental orientations. By Partha Mitter. pp. xxix, 475, front., 24 col. pi., 190 bl. and wh. illus. Cambridge etc., Cambridge University Press, 1994. £60.00." Journal of the Royal Asiatic Society 6, no. 1 (April 1996): 126–27. http://dx.doi.org/10.1017/s1356186300015091.
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Gámez Salas, José Miguel. "El programa de las virtudes en la iglesia de San Isidoro de Úbeda." IMAGO. Revista de Emblemática y Cultura Visual, no. 13 (February 1, 2022): 37. http://dx.doi.org/10.7203/imago.13.20780.
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ABSTRACT: This study undertakes an iconographic study of the program of virtues that appears in the nave of the transept of the church of San Isidoro de Úbeda; designed by Alonso Barba in the last third of the 16th century and executed by Sebastián de Solís around 1593. For a proper analysis of the object of this research, I have gathered various literary sources that have allowed me to identify them; they include the ethical-political thought of Antiquity, from Plato to Aristotle, to Seneca or Plutarch; the texts of western Christianity such as the Epistles of Saint Paul; the humanism of Juan Luis Vives and of Erasmus of Rotterdam. Likewise, in this article I indicate the iconographic origin of each of the virtues, some of which arose in Carolingian times, and later received the figurative contributions of French and Italian art.
KEYWORDSMoral Allegory; Virtues; Iconography; Literary Sources; Church of San Isidoro; Úbeda.
RESUMEN: Nuestro trabajo pretende abordar un estudio iconográfico sobre el programa de virtudes que figura en la nave del crucero de la iglesia de San Isidoro de Úbeda; diseñada por Alonso Barba en el último tercio del siglo XVI y culminada por Sebastián de Solís hacia 1593. Para un correcto análisis del objeto de nuestra investigación, hemos recogido diversas fuentes literarias que nos han permitido identificarlas; partiendo del pensamiento ético-político de la Antigüedad, desde Platón a Aristóteles, hasta Séneca o Plutarco; los textos del cristianismo occidental mediante las Epístolas de San Pablo; sin olvidar el humanismo de Juan Luis Vives o Erasmo de Rotterdam. Asimismo, en el presente artículo señalaremos el origen iconográfico de cada una de las virtudes, surgidas algunas de ellas en tiempos carolingios, para posteriormente recibir las aportaciones figurativas del arte francés e italiano.
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Fajardo, Carlos Fajardo. "Los nuevos decorados del arte." CALLE14: revista de investigación en el campo del arte 10, no. 17 (March 4, 2016): 102. http://dx.doi.org/10.14483/udistrital.jour.c14.2015.3.a08.
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RESUMENEl presente artículo pasa revista y analiza algunas de las tesis que Jean François Lyotard, Fredric Jameson y Jean Baudrillard construyeron para dar cuenta de las consecuencias de la llamada crisis de la modernidad y sus repercusiones en el arte. Se presta especial atención a categorías estéticas que surgieron a partir del resquebrajamiento de los pilares del edificio estético de Occidente bajo la globalización y la posmodernidad. De Lyotard se abordan su reflexión sobre la crisis de los grandes relatos y su noción de lo sublime, de Jameson sus apreciaciones sobre el pastiche, la moda retro bajo las lógicas culturales del capitalismo avanzado, y, de Baudrillard, los conceptos de transestética y estetización, y la pérdida de ilusión estética en la sociedad tecno-mediática y de mercados.PALABRAS CLAVESPosmodernidad, sublime, pastiche, moda retro, estetización.MUSO ALLI CHIKUNA SUGLLAPIKai kilkape willakume imasam kai kimsa runakuna Jean Francois Lyotard, Fredic Jameson y Jean Baudrillard rurankuna tukui mana allilla kaskakunata Kawangapa imasam kunaurra, ruranchi, paikuna allilla ñawe churranaku Kawangapa imasam kunaurra ruranchi, paikuna allilla ñawe shuranaku Kawangapa mana paquerechu tuku, kaipe willaku llukanchi llullarenga Allila mana kai atun llakiikuna pasarrengapa mana chingarrengachu Tukui allila ruranakuska tukui runakunamanda.IMA SUTI RIMAI SIMINespa musukauangapa, atun iuiai, kauaskatak rurangapa, kunaurra musu Kauai, retro, estatización.THE NEW SCENERIES OF ART. ABSTRACTThis article reviews and discusses some of the theses that Jean Francois Lyotard, Fredric Jameson and Jean Baudrillard advanced to account for the consequences of the so-called crisis of modernity and its impact on art. Special attention is given to the aesthetic categories that emerged from the breakdown of the pillars of the Western aesthetic building under globalization and postmodernity. From Lyotard, the article picks up his reflections on the crisis of the grand narratives and his notion of the sublime; from Jameson, his theoretical insights on the pastiche and the retro in fashion under the cultural logic of advanced capitalism; and from Baudrillard, the concepts of transaesthetics and aesthetization, and the loss of the aesthetic illusion in the techno-media and market society.KEYWORDSPostmodernism, sublime, pastiche, retro fashion, aesthetization. LES NOUVEAUX DÉCORS DE L’ART. RÉSUMÉCet article examine certaines des thèses que Jean François Lyotard, Fredric Jameson et Jean Baudrillard ont élaborées pour tenir compte des conséquences de la dite crise de la modernité et de son impact sur l’art. Une attention particulière est donnée aux catégories esthétiques qui ont émergé de l’effondrement des piliers de l’édifice esthétique occidental dans le cadre de la mondialisation et du postmodernisme. De Lyotard on aborde sa ré- flexion sur la crise des grands récits et sa notion du sublime ; de Jameson ses vues sur le pastiche et la mode rétro dans la logique culturelle du capitalisme avancé, et, de Baudrillard, les concepts de transesthétique et esthétisation, et la perte de l’illusion esthétique dans la société techno-médiatique et des marchés.MOTS CLÉSPostmodernisme, sublime, pastiche, mode rétro, esthétisation.OS NOVOS ENFEITES DA ARTE. RESUMOO presente artigo passa revista e analisa algumas das teses que Jean Françoeis Lyotard, Fredic Jameson e Jean Baudrillard construíram para dar conta das conseqüências da chamada crise da modernidade e suas repercussões na arte. Presta-se especial atenção a categorias estéticas que surgiram a partir do rachamento dos pilares do edifício estético do Ocidente sob a globalização e a pos-modernidade. De Jameson suas apreciações sobre o pasticho, a moda retro sob lógicas culturais do capitalismo avançado, e, de Baudrillard, os conceitos de trans-estética e estetização, e a perda de ilusão estética na sociedade tecno-mediática e de mercados.PALAVRAS CHAVESPos-modernidade, sublime, pasticho, moda retro, estetização.
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Andrés-Fernández, David. "In die purificatione Beata Maria Virginis. Música y liturgia en el medievo aragonés." Anuario Musical, no. 68 (December 30, 2013): 3. http://dx.doi.org/10.3989/anuariomusical.2013.68.146.
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Estudio comparativo de las piezas procesionales de la festividad de la Purificación que aparecen en fuentes bajomedievales de uso aragonés. El texto expone y analiza tanto el repertorio copiado en dichas fuentes como su ordenación litúrgica. Igualmente, se presta atención al comportamiento melódico-textual de una de sus piezas más representativas. El objetivo es conocer la filiación de dicho repertorio, estableciendo posibles vinculaciones con otras fuentes de la liturgia latina occidental. Tras un primer contexto teórico de esta celebración, mostramos el repertorio local y lo comparamos entre sí y con sus análogos en occidente, incluyendo el cotejo de las melodías de una de las piezas más significativas, para finalmente establecer una serie de conclusiones.
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Karpun, J. N., and G. F. Perfilieva. "Classification of the garden forms of western thuja ( Thuja occidentalis L.)." HORTUS BOTANICUS 2, no. 2 (January 2003): 7. http://dx.doi.org/10.15393/j4.art.2003.1683.
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Büttner, Fred. "Verse Structure and Musical Rhythm in Latin Hymn Melodies." Anuario Musical, no. 61 (December 31, 2006): 3. http://dx.doi.org/10.3989/anuariomusical.2006.61.1.
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Como ha demostrado Thrasybulos Georgiades en su libro Music and Language, la “cuestión de la constante preocupación de la música por el lenguaje” representa uno de los elementos más importantes en la historia de la Música en Occidente. Para poder abordar adecuadamente el problema, es necesario, por encima de todo, plantearse la cuestión del ritmo en los planos lingüístico y musical. En el Himno latino, el género más antiguo de canción en la historia de la Música Occidental, el ritmo se materializa en el plano lingüístico a través de la estructura de los versos, que se construyen originalmente por yuxtaposición de sílabas largas y cortas en una estructura predefinida. Dado que la distribución de los acentos del texto puede apartarse considerablemente de esta estructura, el ritmo musical –si es que éste existe– debe elegir entre seguir la estructura de los versos o la de los acentos del texto. Si tomamos como ejemplos las melodías españolas de los Himnos, resultan evidentes las consecuencias que para el ritmo de la música suponen estas posibilidades, y las perspectivas que se abren para el desarrollo de la historia de la Música en Occidente.
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Rodon, Thierry. "Le Nunavut: une composition inachevée?" Études/Inuit/Studies 38, no. 1-2 (February 25, 2015): 95–114. http://dx.doi.org/10.7202/1028855ar.
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L’expérience du Nunavut est basée sur un compromis entre la volonté des Inuit de reconquérir une certaine autonomie et celle du gouvernement fédéral d’assurer sa souveraineté sur l’Arctique canadien et d’obtenir une certitude juridique pour l’exploitation des ressources du Nunavut. Dans ce contexte, on peut se demander si le gouvernement du Nunavut donne plus d’autonomie aux Inuit ou s’il s’agit simplement d’une structure postcoloniale qui répond principalement aux normes de rationalité occidentales. Le concept de «composition» proposé par Latour nous offre une façon de comprendre les relations entre la gouverne inuit et occidentale au Nunavut. Dans cet article, ce sont donc les interrelations des acteurs, des visions et des institutions qui forment le cadre de notre analyse de la composition du Nunavut. Après une caractérisation de la gouverne dans les sociétés inuit, nous verrons à travers l’analyse des compromis, des institutions et des pratiques du Nunavut comment gouvernance inuit et rationalité gouvernementale occidentale interagissent au sein du nouveau territoire.
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Kase, Kimio, Alesia Slocum, and Yingying Zhang. "Global Strategy Requires a Meeting of Minds: Bridging Western vs. Eastern Thinking." IESE Insight, no. 11 (December 15, 2011): 59–66. http://dx.doi.org/10.15581/002.art-2050.
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Benghida, Nassiba, Leila Sriti, Asma Femmam, Sarra Saouli, and Sana Mekki. "A Stylistic Analysis of the Saharan French colonial architecture in southern Algeria." Technium Social Sciences Journal 39 (January 8, 2023): 574–90. http://dx.doi.org/10.47577/tssj.v39i1.8288.
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This work undertakes a study of the colonial architecture produced in southern Algeria during the 19th and 20th centuries. The comparison of the colonial architecture as it is manifested in public buildings in the north and south of the country will make it possible to grasp the specific characteristics of the architectural language developed in Saharan cities during the colonial period from 1832 to 1962. More precisely, the research endeavours to reconstruct, in a chronological manner, the conditions of production, the modalities of evolution of this architecture and the diversity of its formal attributes. To this end, a historical-analytical approach has been applied to a sample of buildings representative of the French presence in Algeria. In particular, the analysis focused on their architectural features with the intention of characterising the French imperialism formal and stylistic expressions which are rooted in eighteenth-century orientalism. The results show that the emphasis on 'indigenous' culture promoted by Governor Jonnart in the early 20th century, which was crowned by the adoption of the architectural orientalism as an official style often emanated from a concerted policy to symbolise France’s presence, power, and domination in the colonised territory. Additionally, the study highlighted the features related to the stylistic expression of the public facades through the identification of the architectural and decorative elements used in their design. Finally, it appeared that official architecture in the north was generally expressed through a single style that was successively neo-classical, art deco and neo-Moorish. In the south, however, colonial architecture was more nuanced and clearly influenced by the local Saharan context and the vernacular built environment, although the concept of vernacular architecture has been implemented just as mere rhetoric. Therefore, the colonial architecture generated in the southern territories cannot be considered as strictly imported or exogenous, as was the case for the north, but rather as the result of crossbreeding between vernacular, occidental and sub-Saharan African architectures.
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De Francisco Olmos, Jos´é María. "La Escritura en la moneda: un reflejo del poder político y religioso en el occidente medieval." De Medio Aevo 15, no. 1 (February 2, 2021): 31–66. http://dx.doi.org/10.5209/dmae.72726.
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Desde la creación de la moneda en el ámbito occidental, en la zona del Mar Egeo en el siglo VII a.C., esta pequeña pieza de metal se convirtió en el mejor instrumento de intercambio comercial, pero a la vez se transformó en un potente medio de propaganda política y religiosa, siempre controlado de forma férrea por el poder emisor de la moneda, que quiso plasmar unos mensajes específicos y muy claros en las leyendas monetarias que acompañaban a su iconografía, no dejando nada al azar. Este mensaje político y religioso llegó a su cima en la época medieval, en los tres grandes ámbitos mediterráneos, la Europa occidental, el Imperio bizantino y el Islam. Cada zona tuvo sus peculiaridades, pero en todas predominaron estos mensajes, que estudiaremos en este trabajo para el primero de ellos, la Europa occidental, viendo algunos ejemplos que muestran la importancia de estos mensajes monetarios durante los mil años que transcurren desde la caída del Imperio Romano de Occidente hasta los inicios del siglo XVI. Veremos cómo el poder político en sus distintos escalones afianzó un mensaje de propiedad y exclusividad, destinado tanto a los súbditos de ese poder, como a sus enemigos o vecinos, ya que en estos siglos la moneda es sin duda el objeto que más viaja, tanto en rapidez como en distancia, y todo el que llega a tenerla en sus manos debe identificarlas para conocer su verdadero valor económico y, por tanto, está obligado también a entender el significado de sus tipos y leyendas.
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Uzel, Jean-Philippe. "Déni et ignorance de l’historicité autochtone dans l’histoire de l’art occidentale." RACAR : Revue d'art canadienne 42, no. 2 (January 25, 2018): 30–41. http://dx.doi.org/10.7202/1042944ar.
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Western art history long refused to recognize the historicity of Indigenous art, seeing it instead as a “primitive” mode of human expression. While the dynamism of Indigenous creation since the 1960s has made such an assertion impossible, the institutional recognition given contemporary Indigenous art in the art world is paradoxically accompanied by a lack of critical and theoretical analysis. Today, there is a genuine ignorance concerning Indigenous conceptions of history — their “regime of historicity”— on the part of Western art historians. This is all the more surprising given the recent “temporal turn” taken by the discipline, which emphasizes the question of mixed temporalities without acknowledging it as an essential dimension of Indigenous art. This paper revisits Western art history’s long-standing denial of the historicity of Indigenous art, and then considers its current disregard for the ways Indigenous art allows different forms of temporality to coexist. The underlying thesis of the essay is that today’s disinterest is, in fact, a prolongation of yesterday’s denial.
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Iamonico, Duilio, and Ridha El Mokni. "On Atriplex canescens (Chenopodiaceae s. str./Amaranthaceae s. l.) in Tunisia: nomenclatural and morphological notes on its infraspecific variability." Hacquetia 18, no. 1 (June 1, 2019): 119–27. http://dx.doi.org/10.2478/hacq-2018-0008.
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Abstract Populations of Atriplex canescens var. gigantea were found in Lamta, Bouficha-Enfidha (central Tunisia), and Medenine (southern Tunisia). Literature data concerning the presence of this species in Tunisia are contradictory but now our data confirm its occurrence in the country. On the other hand, this variety is reported in the present paper for the first time both in Tunisia and in North Africa in general. Morphological characters and ecological data are presented, as well as notes about patterns of infraspecific variability of A. canescens. Nomenclatural notes on infraspecific names in A. canescens, as well as on the closely related species A. garrettii, are provided. The types of the names A. canescens var. laciniata, A. canescens var. macilenta, A. garrettii, Obione occidentalis var. angustifolia, and Pterochiton occidentale, that in earlier publications were erroneously considered to be holotypes, are in fact lectotypes (for most of taxa) under Art. 9.10 of the ICN. Isolectotypes were found at CAS (A. canescens var. laciniata and A. canescens var. macilenta), GH (A. canescens var. macilenta), and YU (Atriplex nuttallii).